This delicately sentimental account of a teenage romance by melodrama specialist Keisuke Kinoshita is one of the most touching of Japanese films. Narrated in flashback, it uses silent-film-style masking to create a nostalgic yet melancholy picture of late 19th-century Japan. Filmed among the stunning mountain landscapes of Nagano Prefecture, this story of ‘pure love’ is a true heartbreaker.
bfi.org.uk
In the list compiled by Japanese critics of the best films of 1955 She Was Like a Wild Chrysanthemum was placed third in a distinguished selection.
Perhaps it is the purity of the film’s style which makes the first strong impression on us here in the West. The story of an old man’s sentimental journey to the place where he found and lost his true love is told almost entirely in flashback, nostalgically framed in a misty oval screen. The emotional distance is also that of memory; never is the pace or the action forced into a more dynamic immediacy; the tone is one of reverie and sad recollection.
The concern of this exquisite artist is just as great for the subtleties of his scene as for the plight of his lovers. But in the scene Kinoshita always discerns the reflection of the melancholy circumstances. Time and again his camera dwells on the waving, submissive pampas grass inclining to the wind; whenever possible, twigs and patterns of leaves frame and soften the scene. The studied delicacy of each shot adds to the formal beauty and discourages any but the most tender and refined rapport with the action.
Such then is the art of Kinoshita. Far from the violence or the fascinated perceptions of Kurosawa, from the glowing compassion of Ozu and Gosho, or the mysterious and deeply passionate Mizoguchi, Kinoshita, on the evidence of She Was Like a Wild Chrysanthemum is the cinema’s most delicate miniaturist; a talent of amazing refinement, and yet another revelation of the extraordinary richness of the cinema of Japan.
National Film Theatre programme notes
SHE WAS LIKE A WILD CHRYSANTHEMUM
(NOGIKU NO GOTOKI KIMI NARIKI)
Director: Keisuke Kinoshita
Production Company: Shochiku Co. Ltd.
Producer: Kiyoshi Takamura
Screenplay: Keisuke Kinoshita
From a novel by: Sachio Ito
Director of Photography: Hiroyuki Kusada
Art Director: Kisaku Ito
Music: Chuji Kinoshita
Cast
Shinji Tanaka (Masao)
Noriko Arita (Tamiko)
Haruko Sugimura (Masao’s mother)
Kasuko Yamamoto (Sada)
Chishu Ryu (Masao as an old man)
Keiko Yukishiro
Kumeko Urabe
Takahiro Tamura
Toshiko Kobayashi
Japan 1955
92 mins
JAPAN 2021
100 YEARS OF JAPANESE CINEMA
Early Summer (Bakushû)
Mon 18 Oct 14:30; Tue 19 Oct 20:35; Wed 20 Oct 17:50; Thu 18 Nov 20:20 (+ intro by Professor Alastair Phillips, University of Warwick); Sun 21 Nov 11:30
The Flavour of Green Tea over Rice (Ochazuke no aji)
Mon 18 Oct 18:10; Wed 20 Oct 20:40; Thu 21 Oct 14:40; Mon 8 Nov 14:30; Tue 23 Nov 14:40
Tokyo Story (Tôkyô monogatari)
Mon 18 Oct 20:20; Thu 21 Oct 14:30; Sat 13 Nov 14:10; Tue 30 Nov 14:00
Throne of Blood (Kumonosu-jô)
Tue 19 Oct 18:10; Thu 21 Oct 20:35 (+ Inside Cinema: Akira Kurosawa); Wed 27 Oct 20:30; Tue 9 Nov 20:40; Fri 12 Nov 14:15 (+ Inside Cinema: Akira Kurosawa); Sat 27 Nov 20:50
Early Spring (Sôshun)
Tue 19 Oct 14:30; Wed 20 Oct 20:15; Thu 21 Oct 17:30; Sat 20 Nov 14:50; Tue 23 Nov 17:40
Yojimbo
Tue 19 Oct 20:55; Thu 21 Oct 17:55; Fri 19 Nov 14:30 (+ Inside Cinema: Akira Kurosawa); Fri 26 Nov 18:10; Sun 28 Nov 12:00 15 (+ Inside Cinema: Akira Kurosawa)
An Actor’s Revenge (Yukinojô henge)
Wed 20 Oct 14:15; Mon 1 Nov 14:30; Thu 11 Nov 20:40 (+ intro by Jennifer Coates, The University of Sheffield); Sat 20 Nov 12:15
Souls on the Road (Rojô no reikion)
Fri 22 Oct 18:00; Sat 30 Oct 15:30
A Page of Madness (Kurutta ichipeiji)
Sat 23 Oct 13:00; Mon 15 Nov 20:50
Silent Cinema presents: I Was Born, But… (Otona no miru ehon – Umarete wa mita keredo)
Sat 23 Oct 15:00; Sun 28 Nov 14:45 (+ intro by Bryony Dixon, BFI National Archive curator)
Our Neighbour, Miss Yae (Tonari no Yae-chan)
Sun 24 Oct 12:40; Mon 1 Nov 18:15 (+ intro by season co-programmer Alexander Jacoby)
Humanity and Paper Balloons (Ninjô kami fûsen)
Sun 24 Oct 15:00; Tue 2 Nov 20:45
Talk: A Time of Change and How Japanese Film Bore Witness to It
Mon 25 Oct 18:20
Children of the Beehive (Hachi no su no kodomotachi)
Mon 25 Oct 20:45 (+ intro by season co-programmer Alexander Jacoby); Mon 8 Nov 18:20
The Life of Matsu the Untamed (aka The Rickshaw Man) (Muhomatsu no issho)
Tue 26 Oct 20:40; Sun 7 Nov 11:40
Fallen Blossoms (aka Flowers Have Fallen) (Hana chirinu)
Sun 31 Oct 13:00; Wed 3 Nov 18:20 (+ intro by Japanese film scholar Alejandra Armendáriz-Hernández)
My Love Has Been Burning (aka Flame of My Love) (Waga koi wa moenu)
Fri 5 Nov 18:30; Mon 15 Nov 17:40
Love Letter (Koibumi)
Sat 6 Nov 12:30; Sun 21 Nov 14:40 (+ intro by Irene González-López, co-editor of ‘Tanaka Kinuyo: Nation, Stardom and Female Subjectivity’)
An Inn at Osaka (Ôsaka no yado)
Sat 6 Nov 15:30; Sun 21 Nov 18:00 (+ pre-recorded intro by Professor Hiroshi Kitamura, College of William & Mary)
Godzilla (Gojira)
Sun 7 Nov 15:50; Tue 23 Nov 20:40
Marital Relations (Meoto zenzai)
Sun 7 Nov 18:20; Thu 25 Nov 18:00 (+ pre-recorded intro by Professor Hideaki Fujiki, Nagoya University)
Sansho the Bailiff (Sansho Dayu)
Mon 8 Nov 20:40; Sun 28 Nov 18:20
She Was Like a Wild Chrysanthemum (Nogiku no gotoki kimi nariki)
Tue 9 Nov 18:20; Tue 30 Nov 20:40
Harakiri (Seppuku)
Wed 10 Nov 18:00; Tue 16 Nov 20:25
Night Drum (Yoru no tsuzumi)
Wed 10 Nov 20:50; Tue 16 Nov 18:15
Talk: Female Archetypes in Classical Japanese Cinema
Thu 11 Nov 18:10
Yearning (Midareru)
Fri 12 Nov 18:20; Fri 26 Nov 21:00
Elegant Beast (aka The Graceful Brute) (Shitoyakana kedamono)
Wed 17 Nov 20:50; Sat 27 Nov 18:30 (+ pre-recorded intro by Professor Yuka Kanno, Doshisha University)
Talk: The Family and Home in the Golden Age of Japanese Cinema
Thu 18 Nov 18:00
Onibaba
Fri 19 Nov 20:50; Tue 30 Nov 17:50
Tokyo Olympiad (Tôkyô orinpikku)
Sat 20 Nov 16:40; Wed 24 Nov 18:40
Supported by
In partnership wtih
With special thanks to
With the kind support of:
Janus Films/The Criterion Collection, Kadokawa Corporation, Kawakita Memorial Film Institute, Kokusai Hoei Co. Ltd, Nikkatsu Corporation, Toei Co. Ltd
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Programme notes and credits compiled by the BFI Documentation Unit
Notes may be edited or abridged
Questions/comments? Contact the Programme Notes team by email